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 English Classics 
 
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 .^^^^LANATOPj.;^ 
 
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 ALEXANDER'SJFEAST 
 
 FmacfLecknoeI 
 
 Fl 
 
 •7|r 
 ■ BY 
 
 John Dryden. 
 
 Kfj 
 
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No. 39. 
 BNGLISH CLASSICS, 
 
 A 
 
 Alexander's Feast, 
 MacFleckxoe, 
 
 ANB 
 
 St. Cecilia's Day 
 
 i»' 
 
 BY 
 
 JOHN DRYDE?^. 
 
 WITH PHUiOLOGICAIi AND EXPLANATORY NOTES 
 
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 Lord Bacon's Essays, CItU and 
 
 MoraL (Selected.) 
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BlOGEAPHT. 
 
 1. John Drtden was born on the 5tli of August, 1631, prob- 
 ably in the house of his maternal grandfather, at Aldwincle, 
 All Saints, near Oimdle, in Northamptonshire, EDg. His father 
 was the proprietor of a small estate at Blakesley. In course of 
 time he was sent to Westminster School, then under the super- 
 intendence of Dr. Busby, and subsequently to Trinity College, 
 Cambridge. Leaving the University in 1657, without, it would 
 seem, having specially distinguished himself there, he went up 
 to London, and devoted himself to politics and to literature. 
 Amonscst his family connections were certain important members 
 of the Puritan party. The death of Cromwell soon provided him 
 with a poetical subject. His writing an eleg}' on that occasion did 
 not prevent him, any more than Waller, and other poets of the 
 day, from welcoming back with a poem Charles the Second. 
 With the Restoration a new field was thrown open to the wits 
 of the time in the shape of the stage, which for some eighteen 
 years had been altogether, or partially shut up. Dryden turned 
 play-writer. He wrote comedies, tragedies, tragi-comedies : the 
 comedies in prose; the tragedies, the earliest in blank verse, 
 then some in rhyme, on the model of the French tragic drama ; 
 the latest in blank verse. His subjects he drew mostly from the 
 old romances, and from history. He reproduced three of 
 Shakespeare's plays, Troilus and Cressida, Antony ajid Cleopatra 
 (which he called All for Love), and The Teinpe^. In 1671 his 
 plays were heartily, and not undeservedly, ridiculed in the Be- 
 Tiearsal, written by the Duke of Buckingham, assisted, it is said, 
 by '' Hudibras " Butler, and others. All this time he was win- 
 ning more lasting fame by the various critical essays with which 
 his plays, when published, were frequently prefaced. In 1663 
 he married the Lady Elizabeth Howard, a daughter of the Earl 
 of Berkshire, who by no means proved a consfenial consort. 
 
 2. It was not till Dryden was some fifty years old that he 
 fully discovered where his strength lay. Before 1681 he had 
 written other poetical pieces, as his Annus Mirabilis (published 
 in 1667, the same year with Paradise Lost), besides his plays, and 
 everything: he had written had been marked by a certain power 
 and might ; but in that year his Absalom and AcTiitophd displayed 
 
 3 
 
4 BIOGRAPHT. 
 
 his characteristic talents in their fullest and completest vigor. 
 The nation was at that time in a state of profound excitement ; 
 the struggle between Absolutism and Constitutionalism was 
 rapidly nearing its final crisis: the contest between the Court 
 party and the Exclusionists, an important passage in that other 
 all-comprehensive struggle, had just reached its utmost fury. 
 Dryden stood forth as the champion of the Court party ; in his 
 Absalom and Achitopfid he dealt the Hxclusionists the severest 
 blows his genius could inflict, and they were terribly effective. 
 That poem was speedily followed by another, The Mctlaiy aimed 
 at the same Achitophel ; and this by another, Mac Flecknoe^ 
 aimed at Shadwell, the chief poet of the V\'hig side. At this 
 same memorable period of his life he wrote also Htli/jio Diici, to 
 vindicate Revelation against Atheism, and Protestantism against 
 Tradition. How well the Stuarts rewarded his great services 
 appears from the fact that it was only with much appealing and 
 difficulty he could procure the payment of the salary due to 
 him as Poet Laureate. Not long after the succession of James 
 II. he became a Roman Catholic : with his usual fervor and brill- 
 iancy he in 16S6 wrote his Hind and B^iiUier (published the fol- 
 lowing year), in which he defended that tradition of which in 
 the Rdigio Laid he had made so light. "SMien the boy was bom 
 who was afterwards known as *' the Pretender," Dryden cele- 
 brated the event in his Britannia Redwwa ; but that birth was in 
 fact the signal for the combined action of a justly indignant 
 nation, and the irreparable fall of the Stuart d\-nasty. 
 
 3. Dryden fell with his patrons. Whatever may be thought 
 of the consistency of his previous life, he certainly refused 
 overtures now made to him by the triumphant Protestant party. 
 His political life ended : his literary activity was as intense as 
 ever. He now set himself to the translation of certain classical 
 poets. His version of Persius and Juvenal was published in 
 1693 ; that of the JSneid in 1697. in which same year he wrote 
 also his now best-known poem, his Aleiauder^s FeaM. His 
 modernizations of Chaucer and other pieces— his /aW^^— ap- 
 peared in 1700. Thus his vigor remained to the end, for in 1700 
 he died. 
 
 Of his twenty-^ight plays scarcely any one is now at all known, 
 and perhaps not much more deser\es to be known. The comedies 
 abound in wit, those written in the heroic metre in fine versifi- 
 cation ; but Dryden was wanting in dramatic j>ower. he was 
 wanting in humor, in tenderness, in delicacy. He could de- 
 
BIOGRAPHY. O 
 
 scribe in a masterly manner, but this is not the dramatist's great 
 
 function ; he had not the art of making his characters de- 
 velop themselves— describe themselves by their actions so to 
 speak. He could lay bare all the motives that actuated them, 
 but he could not show them in a state of action obedieot to 
 those motives ; iu short, his power was rather of the analytical 
 kind. 
 
 His descriptive power was of the highest. Our literature has 
 in it no more vigorous portrait-gallery than that he has be- 
 queathed it. He succeeds better in his portraits of enemies than 
 of friends ; perhaps, because, as it happened, the Whig leaders 
 excited in him more disgust than the Tories admiration. The 
 general type of character which that age presented was in an 
 eminent degree calculated not to stir enthusiasm. Dryden fell 
 upon evil times. AVhat he for the most part saw was flagrant 
 corruption in Church and in State, and in society. He lived the 
 best years of his life in the most infamous period of English 
 history ; he was getting old when a better time began. The 
 poet reflects his age : there was but little noble for Dryden to 
 reflect. Naturally, lie turned satirist. 
 
 His power of expression is beyond praise. There is always a 
 singular ^//?es5 in his language : he uses always the right word. 
 
 He is one of our greatest masters of metre : metre was, in 
 fact, no restraint to him, but rather it seems to have given him 
 freedom. It has been observed that he argues better in verse 
 than in prose : verse was the natural costume of his thoughts. 
 As a prose-writer he is excellent ; but verse- writing was his 
 proper province. 
 
 Note.— In this nnmber of the English Classics it has been thought 
 desirable to copy the orthography of the author, that the student may 
 see the changes made since his time. 
 
ALEXANDER'S FEAST, 
 OR, THE POWER OF MUSIC. 
 
 Introductory Note,— This song was written in 1697, in a single 
 night, according to St. John, afterwards Lord Bolingbroke. He states 
 that Drydeii said to liim when he called upon him one morning: "I 
 have been up all night: my musical friends made me promise to write 
 them an Ode for their Feast of St. Cecilia, and 1 was so struck with the 
 subject which occurred to me that I could not leave it till I had completed 
 it; here it is, finished at one sitting." 
 
 I. 
 
 'TwAs at the royal feast for Persia won 
 By Philip's warlike son. 
 Aloft in awful state 
 The godlike hero sate 
 
 On his imperial throne ; 5 
 
 His valiant peers were plac'cl around, 
 Their brows with roses and with myrtles bound; 
 
 (So shou'd desert in arms be crown'd.) 
 The lovely Thais, by his side, 
 
 Sate like a blooming Eastern bride, 10 
 
 In flow'r of youth and beauty's pride. 
 
 I. 'Tvi^as at, etc. There is here a sort of rhetorical ellipsis. He 
 means, "It was at the royal feast that what follows happened," or, 
 *' The scene of the subject of our Ode was the hall of the royal feast; " 
 but he boldly omits the explanatory clause. In the well-known words. 
 "' We met, 'twas in a crowd," the explanatory clause, in fact, precedes; 
 iDut it is often omitted altogether, as here, especially in the beginning of 
 a tale or poem. Comp. Moore's 'Tis the last rose of summer." 
 
 [When was Persia " won "? See Hist. Greece^ 
 
 7. At a Greek banquet the guests wer egarlanded with roses and myr- 
 tle leaves. 
 
 9. Thais : See Smith's larger Biog. and Mythol. Diet. Athenseus 
 is our chief informant about her. According to him, she was, after Alex- 
 ander's death, married to Ptolemy Lagi. She was as famous for her wit 
 as her beauty. " Her name is best known from the story of her having 
 stimulated the Conqueror (Alexander), during a great festival at Persep- 
 olis, lo set fire to the palace of the Persian kings; but this anecdote, 
 immortalized as it has l^eeii by Dryden's famous Ode, appears to rest on 
 the sole authority of Cleitarchus, one of the least trustworthy of the his-, 
 torians of Alexander, and is, in all probabilitj^ a mere fable." 
 
 II. [In what two ways may youth in this line be parsed? Which is the 
 better?! 
 
8 Alexander's eeast. 
 
 Happy, happy, happy pair I 
 
 None but the brave, 
 
 None but the brave. 
 None but the brave deserve the fair. 15 
 
 II. 
 
 Timotheus, plae'd on high 
 Amid the tuneful quire, 
 
 With flying fingers touched the lyre; 
 The trembling notes ascend the sky, 
 And heavenly joys inspire. 20 
 
 The song began from Jove, 
 Who left his blissful seats above, 
 (Such is the power of mighty love.) 
 A dragon's fiery form bely'd the god; 
 Sublime on radiant spires he rode, 25 
 
 When he to fair Olympia press'd 
 And while he sought her snowy breast; 
 
 Then round her slender waste he curled 
 And statnp'd an image of himself, a sov'raign of the world. 
 
 The listening crowd admire the lofty sound, lO 
 
 A present deity, they shout around ; 
 
 A present deity, the vaulted roofs rebound. 
 
 12. Pair and peer (6) are etymologicallj'- identical. 
 
 16. Timotheus: See Smith's larger i>'20<7. and Mylhol. Did. This 
 Timotheus is said to have been a Theban. Suidas tells us he " flourished 
 under Alexander the Great, on whom his music made i-o powerful an 
 impression that once in the midst of a performance by Timotheus of an 
 Orthian poem to Athena, he started from his seat and seized his arms.'" 
 The more celebiated Timotheus, " the musician and poet of the later 
 Athenian dithyramb,'" a native of Miletus, died some thirty years befora 
 Alexander's conquest of Persia. 
 
 17. Tuneful : See St. Cecilia'' s Day. 6. 
 
 21. Bcs^an from Jove ; See St. Cenlia^s Day, 2. 
 
 22. Seatw : So in Latin, sedcs is used in the plural. 
 
 24. (What is meant hy Bchfd the God? Comp. Shakspere's Richard 
 in. IT. ii. ?6-7.1 
 
 For this wild story see PlutarchV Alex. etc. See Paradise Lost, ix. 494- 
 510. In th(^ medi.Tval romances about Alexander it was not Jove, but 
 one Nectanebus, a refuj^ee kinfj of Effvpt, who was the father of the 
 prince: see e. g. the frap:ment of Alisan inter edited by Mr. Skeat for the 
 Early En<rlish"Text Society. 
 
 25. Kadiaut Spires: Comp. MiltonV "circliu}^ spires."" 
 [Which is the better word with which to conuaci on radiant fspiresf- 
 
 What does 7vd€ mean?l 
 
 26. Her name was Olvmpias. See Clasf!. Dirt. 
 
 31. A present deity. Comp. Hor. Od. III. v. 2; PsalTU xlvi. 1. 
 
ALEXANDER'S PEAST. 9 
 
 With ravish'd ears 
 The monarch heai-s, 
 
 Assumes the god, 35 
 
 Affects to nod, 
 And seems to shake the spheres. 
 
 ni. 
 
 The praise of Bacchus, then the sweet musician sung, 
 Of Bacchus ever fair, and ever Youn^. 
 
 The jolly god in triumph comes; 40 
 
 Sound the trumpets, beat the drums ; 
 Flush'd with a purple grace 
 He shews his honest face ; 
 Now give the hautboys breath ; he comes, he comes. 
 
 Bacchus, ever fair and young, 45 
 
 Drinking joys did first ordain; 
 Bacchus' blessings are a treasure. 
 Drinking is the soldier's pleasure ; 
 Rich the treasui-e, 
 
 Sweet the pleasure, 50 
 
 Sweet is pleasure after pain. 
 
 TV. 
 
 Sooth'd with the sound the king grew vain ; 
 
 Fought all his battails o'er again: 
 And thrice he routed all his foes, and thrice he slew fhe 
 slain. 
 The master saw the madness rise, 55 
 
 His glowing cheeks, his ardent eyes ; 
 
 37. 8«e Horn. Iliad, i. 528-30. 
 Virg. JEn. x. 115: 
 
 " Annuit, et totnm imtu tremefecit Oljrmpum."' 
 The Latin 70/ wen means oriirinally a nod. 
 
 38. Bacchus. See aas.^\ T)vt. 
 
 43. Honest face ^ handsome face. The epithet is taken from 
 Virg-ll. 
 
 Hone fit -Ulce is used in Scotland for "goodly as regarding the person." 
 
 44. Hautboys = obops (French, hanibois, Xhsitiii^haui'bois). 
 53 rwhat battles had he fonofht?] 
 
 [What ismerint by to Unfit over a baffled] 
 
 56. Ardent eyes: See Cicero's speech ui T Vr?'. II- iv. 66, of one 
 Theomastiis' madness: ** Nam quum spumns ageret in ore. CKtfli< ardti^et, 
 voce maxima vim me sibi adfeiVe ciameret, copulatiin jiisperver.mus." 
 
10 alexaxder's feast. 
 
 And while he heaven and earth defrd, 
 Chang^'d his hand, and eheek'd his pride. 
 
 He chose a monmful Muse, 
 
 Soft pity to infuse ; 60 
 
 He sting Darius great and good. 
 
 By too severe a fate 
 Fallen, fallen, fallen, fallen. 
 
 Fallen from his high estate. 
 And weltring in his blood. 65 
 
 Deserted at his ntmost need 
 By those his former bounty fed, 
 On the bare earth expose! he lyes. 
 With not a friend to close his eyes. 
 With downcast looks the joyless victor sate, 70 
 Revolveing in his altered soul 
 
 The various turns of chance below : 
 And, now and then, a sigh he stole. 
 
 And tears began to flow. 
 
 V. 
 
 The mighty master smil'd to see 75 
 
 That love was in the next degree ; 
 Twas but a kindred sound to move. 
 For pity melts the mind to love. 
 
 36. 61. [Was there ever any difference between gung and sang? See 
 Latham's E>QlUh Gfxtnmiar.]^ 
 65. Weltering : See Hi^mn Xaf. 124, (7^ GrJden Treasujy), 
 68, Expou'd-cast oot- Comp. lAtin erponett. 
 60. Comp. Pope's EUgrjfon an Unfortunate Lady: 
 
 " By foreign hands thy dyinsr eyes were closed: 
 By foreign hands thy decent limbs composed.*' 
 
 Ifltli not a friend : .4 here has its older force : it = one. a sfnsle ; 
 see note to 'a: a birth.'* ^ .-" ^' ' ^ - ^ '^'^' -■ ^-onger form of 
 wyn^ or r^. The nesatire in 
 
 73. A sij^li he irtole=h . Mlently. See 
 
 Shakespeare's T'tminn of thr .vw^„. lil. ii. 142. 
 
 '• Twere good, merhinks, to fteal our marriage." 
 
 Comp. CymJb. I. v. b6 : 
 
 Th€ thick sighs from him: " 
 
 'irhich is explained by '• the Iotct agfaing like a fnmace " in Ai Toti 
 Like n, n. \\\. Ii8. 
 77. ' Tw^a. etc. See above, L L 
 
Alexander's feast. 11 
 
 Softly sweet, in Lydian measures, 
 Soon he sooth'd his soul to pleasures. 80 
 
 War, he sung, is toil and trouble, 
 Honor but an empty bubble, 
 
 Never ending, still beginning, 
 Fighting still, and still destroying ; 
 
 If the world be worth thy winning, 85 
 
 Think, think it worth enjoying ; 
 Lovely Thais sits beside thee. 
 Take the good the gods provide thee, 
 The many rend the skies with loud applause ; 
 So Love was erown'd, but Musique won the cause. 90 
 The prince, unable to conceal his pain, 
 Gaz'd on the fair 
 Who eaus'd his care. 
 And sigh'd and looked, sighed and looked, 
 Sigh'd and look'd, and sigh'd again ; 95 
 
 At length, with love and wine, at once oppressed 
 The vanquish'd victor sunk upon her breast. 
 
 VI. 
 
 Now strike the golden lyre again ; 
 
 A lowder yet, and yet a lowder strain. 
 
 Break his bands of sleep asunder, 100 
 
 And rouze him, like a rattling peal of thunder. 
 
 79. [What does siveet here qualify ?] 
 Lydian measures : See Milton's U Allegro, 136. 
 Conversely, love melts the soul to pity in Two Gentlemen of Verona. 
 IV. iv. 101. 
 
 82. See Falstaff's catechism, I. Heni^ IV. V. i. 
 
 83. [What is it that is nevei' ending, etc.? What fighting still, etc. ?] 
 85. Worth ^Vinning : So " worth nothing/' "worth ambition." 
 
 " worth thy sight,'' " worth inquiry," " worth while." (With '' worthy " 
 the preposition is generally inserted, but in Shakespeare, Coriol. III. i. 
 299, we have " worthy death.") This construction may be explained in 
 this way : the Ang.-Sax. inflection which marked the word governed by 
 weorth fell out of use, and its omission was not compensated for by the 
 introduction of the preposition. 
 
 96. [What is the force of at once here? What does it qualify?] 
 
 98. [Why does he say again^] 
 
 100. Bands of sleep: Comp. ''bands of death," ''the bands of 
 those sins " (Collect for the 24th Sunday after Trinity), etc. The notes 
 that rouse him are to be very different from those which are to make 
 Orpheus " heave his head," in Milton's L' Allegro. 
 
13 Alexander's eeast. 
 
 Hark, hark ! the horrid sound 
 Has rais'd up his head ; 
 As a\vak'd from the dead, 
 And amaz'd, he stares around. 105 
 
 Revenge, revenge ! Timotheus cries, 
 See the Furies arise ! 
 See the snakes that they rear, 
 How they hiss in their hair, 
 And the sparkles that flash from their eyes! 110 
 Behold a ghastly band, 
 Each a torch in his hand ! 
 These are Grecian ghosts that in battail were slayn. 
 And unbury'd remain 
 
 Inglorious on the plain; 115 
 
 Give the vengeance due 
 To the valiant crew. 
 Behold how they toss their torches on high, 
 How they point to the Persian abodes, 
 And glitt'ring temples of their hostile gods. 120 
 
 The princes applaud with a furious joy; 
 And the king seyz'd a flambeau with zeal to destroy ; 
 Thais led the way. 
 To light him to his prey, 
 And, like another Hellen, fir'd another Troy. 125 
 
 vn. 
 
 Thus long ago, 
 'Ere heaving billows learn'd to blow, 
 
 108. See the isnakes that tliey rear, etc. In ^^/?. vi. 571-3, 
 
 Tisi phono's left hand i.< filled with snakes. 
 
 117. Crew : See U Allegro, 38. 
 
 122. Flambeau : French words were much affected by the English 
 in the latter part of the seventeenth century. See Builer : 
 
 " For thon£:h to smatter words of Greek 
 And Latin be the rhetoriqiie 
 Of pcHlanrs counted nnd vainsrlorious, 
 To smatter French is meritorious.'' 
 
 SeeMacaulay's Jlisfoi^ of England. I, chap. iii. 
 
 125. [How far does this parallel between Thais and Hellen hold 
 goody] 
 
alexaxder's feast. 13 
 
 While organs yet were mute, 
 Timotheus, to Ms breathing flute 
 
 And sounding lyre, 130 
 
 Cou'd swell the soul to rage, or kindle soft desire. 
 At last divine Cecilia came, 
 Tnventress of the Tocal frame ; 
 The sweet enthusiast, from her sa<?red store, 
 
 Enlarg'd the former narrow bounds, 135 
 
 And added length to solemn sounds, 
 With Xature's mother- wit, and arts unknown before. 
 Let old Timotheus yield the prize, 
 
 Or both divide the crown : 
 He rais'd a mortal to the skies : 140 
 
 She drew an angel down. 
 
 1-2S. Organs : See note on St. O.tc. 44. 
 
 ] ^9. [What is the force of to here ?] 
 
 133. Tlie vocal frame : =the speakini,' stnictnre. 
 
 137. [What is the force of with here ?] 
 
Mac Flecknoe 
 
 Introductory Nolo. —This piece was directed ajjainst Shadwell, 
 the leadin£: Whig poet of the day, as Dryden was the Tory. It was pub- 
 lished in October, 168'^. Johnson tlierefore mistakes wlien he says that 
 it was occasioned by Shadweli's being appointed to succeed Dryclen as 
 PoetLaureite (see his Lifeof Di-yden) ; for tliat superseding did not take 
 place till after the Revolution. 
 
 In spite of what is said in the following Satire, Shadwell was a comic 
 poet of no mean power, and but for his lavish indecency would well de- 
 serve to be read. He was certainly a better play writer than his satirist. 
 Dryden and he had once been friends, and, indeed, fellow-workers, and 
 in those days Dryden had not been blind to his merits. In the Epilogue 
 to the Volunteers, one of SliadwelPs plays, he speaks of him as 
 " The great support of the comic stage, 
 Born to expose the follies of the age, 
 To whip prevailing vices, and unite 
 Mirth with Instruction, Profit with Delight: 
 For large ideas and a flowing pen 
 First of our times, and second but to Ben." 
 
 This praise must have been particularly welcome to Shadwell, not only 
 as coming from whom it did come, but for its form ; for Shadwell mod- 
 elled himself upon Ben Jonson. He, too, aimed at representing 
 " humors." He is said to have resembled him somewhat in person. He 
 found no difficulty in resembling him in his jiffection for the tavern. 
 Had he lived some half-century sooner he would, no doubt, have gladly 
 been enrolled in what Jonson himself called " the tribe of Ben." If 
 Jonson wrote Masgt/es, Shadwell wrote an opera. Psyche. In course of 
 time Dryden and he became enemies. Dryden had spoken disparagingly 
 of Ben Jonson (see his E^^say on Drajiiuilc Poetry) ; Shadwell sneered at 
 Auriing-zebe. When the fearful factious excitements connected with the 
 Exclusion Bill and the Popish Plot came to a head in 1678, and the two 
 following years. Dryden and Shadwell were ranged on opposite sides. 
 Shadwell answered the ^[€'lal v,\i\\ his Medal of John Bayes ; he took 
 part also in a lampoon called The Tory Poets, aimed at Dryden and 
 Otway. In October, 1682, appeared Mac Flecknoe : A Satire on the True 
 Blue 'Protestant Poet, T. S.\ and in the following month the Portrait of 
 Shadwell under the name of Og, in the Second Part of Absalom and 
 Achitophel. 
 
 For the name, Shadwell would have been proud to be called the ''Son 
 of Ben ; " Dryden calls him the " Son of Flecknoe," the heir of one of 
 the meanest versifiers of the century. Of this poor poetaster, Flecknoe, 
 the very name would now barely be known but for the immortality Dry- 
 den thus gave him. Dryden plucked him from oblivion to become a 
 proverb of badness. Thus Swift writes in his On Poetry, a Rhapsody, 
 1744: 
 
 " Remains a difficulty still 
 To purchase fame by writing ill. 
 From Flecknoe down to Howard's time. 
 How few have reached the low sublime I " 
 
 Besides its great intrinsic merit Mac Flecknoe has the additional inter- 
 est of having mainly sugf^ested the form of Pope's T)iincia<L " 1 doul)t 
 not," says Pope himself in a note to '* Flecknoe's Irish Throne" {Dun- 
 ciad, ii. 2), "our author took occasion to mention him in respect to the 
 poem of Mr. Dryden, to which this bears some resemblance, though of 
 
 14 
 
MAC FLECKKOE. 15 
 
 a character more different from it than that of the^nlad from the lUad, 
 or the Luirin of Boileau from the Defa'it de Bouts R'lmess [sic] of Sara- 
 z.n." 
 
 All human.^ things are subject to decay, 
 
 And, when Fate summons, monarchs must obey. 
 
 This Flecknoe found, who, like Augustus, young 
 
 Was call'd to empire and had govern'd long, 
 
 In prose and verse was owned without dispute 5 
 
 Through all the realms of Nonsense absolute. 
 
 This aged prince, now flourishing in peace. 
 
 And blest with issue of a large increase, 
 
 Worn out with business, did at length debate 
 
 To settle the succession of the state ; 10 
 
 And pond'ring which of all his sons was fit 
 
 To reign and wage immortal war with wit, 
 
 Cry'd, *' "Tis resolved, for Nature pleads that he 
 
 Should onely rule who most resembles me. 
 
 Shadwell alone my perfect image bears, 15 
 
 Mature in dulness from his tender years ; 
 
 Shadwell alone of all my sons is he 
 
 Who stands confirm'd in full stupidity. 
 
 The rest to some faint meaning make pretence, 
 
 But Shadwell never deviates into sense. 20 
 
 3. Flecknoe; ^ee Introdifction. 
 
 Augustus was just thirty-three years of ao^e when he overthrew his 
 formidable rival Antony, and became the undisputed master of the 
 Roman world. He held that mastership for forty-four years. See Class. 
 Diet, or Hist. Rom. 
 
 8. Increase; is often used particularly for family or j)rogeny. See 
 1 Scun. ii. 33 So Shakspere's Voriolanus^ III. iii. 114 ; Pope's' Odyssey : 
 " Him young Thoosa bore, the bright increase 
 Of Phorcys.'' 
 
 10. To settle = the settling. So 
 
 " For not to have been dipt in Lethe's lake 
 Could save the son of Thetis from to-die." 
 
 {Two Gentlemen of Verona, III. i. 182.) "I leave to he,'" &c. Or debate to 
 settle may = debate how to settle; comp. Milton's Lye. 10. 
 
 The settling of the succession of the political state was an only too 
 familiar question at this time. It had troubled Cromwell; it was now 
 pressing upon Charles the Second, if anything could press upon him; 
 it was certainly vexing the whole nation. Thus Flecknoe's position was 
 easy to realize. 
 
 13. Observe the force of the metre here. 
 
 'Ti« resolved. Comp. beginning of Aleocander'^s Feast. 
 
 14. [What "part of speech " is o^-tehj here ? What does It qualify ? 
 Where ought it, strictly, to be placed ?] 
 
16 MAC FLECKXOE, 
 
 Some beams of wit on other souls may fall. 
 
 Strike through and make a lucid intervall ; 
 
 But Shadwell's genuine night admits no ray, 
 
 His rising fogs prevail upon the day. 
 
 Besides, his goodly fabrick fills the eye 25 
 
 And seems designed for thoughtless majesty. 
 
 Thoughtless as monarch oakes that shade the plain 
 
 And. spread in solemn state, supinely reign. 
 
 He\-wood and Shirley were but ty{>es of thee, 
 
 Thou last great prophet of tautology, 30 
 
 Even I, a dunce of more renown than they, 
 
 Was sent before but to prepare thy way. 
 
 And courslv clad in Norwich drugsret came 
 
 2'2. ''The long dissension^ of tlie two hoii>t;s, which, althongh th^y 
 had had luci't iiitt:rva*^ and happy pau>cs, yei liiey did ever hang over 
 the kini'dom ready to break forth!" (Bacon.) 
 
 Intervall' here, as ct>-moloirically, of space. Shakspere uses 
 the Latin form in 2 Henry IV, V. i. 8-3, " a' shall laugh without interial- 
 lutn*."' 
 
 24. In a moral sense we etillsay "prevail npon," = persuade; so "pre- 
 vail with." In a matenal sense perhaps wc should miher say *' prevail 
 over." Shaksperes Richard III.. III. iv. t>4. Comp. -prevail against " 
 Comp. also Daniel lii. 27 : •* These men upon whose bodies the lire had 
 no power." 
 
 25. See IntfVtJ. 
 
 Fabrick : The comparison of a body to a building is common 
 enough: >ee i?i. Paul's Stcoml EpislU to the Coiinfhians, \\\ 
 
 26. Js tn'ijr^stij used here in an abstract or a concrete sense ?] 
 
 23. Supinely: Keats used supine in it^ original sense in Et^ of St. 
 
 29 Hej^^vood was one of the '* Elizabethan '" dramatists. Of the 
 details of his life little is known. He died some time in the reiirn of 
 Cliarles I, He wouid seem to hnve been a WTiier of wonderful fertility, 
 for he boasts of having had "an entire hand, or at the lea<t a main 
 finger." in 22«3 plays. He was a writer of far greater merit than might 
 be supposed from this mention of him by Drjden. 
 
 Sliirlejr: bom probabiy in la94.'die«i in 1666. Neither to him 
 does Dn.den here quite do justice. Lamb says of him, ihat he claims a 
 place amon^-t the worthies of this period not so much for any Irans- 
 cendant genius in himself as that he wag the last of a great race, all of 
 whom spoke nearly the same language, and had a set of moral feelings 
 and notions m common. 
 
 31. Dunce : Duns Scolus (he was bom about the same time as Dante, 
 died in 1:306. > was a man of acute intellect, and of gnat enidilion; 
 but, when that school of learning to which he belonged fell into con- 
 tempt, his name becime a by-word for igr;oranco; thus his very emi- 
 nence in his own aire plact^l him in a lowland contemptible position in 
 another a^e. See Trencii's ^/'/'/y o^' ]ro/'/>\ 
 
 3'. Norwlcii Drusr^et: "He wTote first "rastr drucgct.'* 
 (Todd.' Norwich wa- known for its woollen manufaclun^'S in the^limc 
 of Henry 1., when a colony of Fieminsrs settled in the neiirhborhood of 
 Worsiead. " Others, settlers from the same country, joined their breth- 
 ren in the reign of Hen: y VI. and Elizabeth." {Pop, EnctjU.) " Wors- 
 
MAC FLECKXOE. l7 
 
 To teach the nations in thy greater name. 
 
 Mj warbling late, the lute I whilom strung 35 
 
 When to King John of Portugal I sung, 
 
 Was but the prelude to that glorious day, 
 
 When thou on silver Thames did'st cut thy way, 
 
 With well-tim'd oars before the royal barge, 
 
 Swell'd with the pride of thy celestial charge, 40 
 
 And, big with hymn, commander of an host ; 
 
 The like was ne'er in Epsom blankets tost. 
 
 Methinks I see the new Arion sail, 
 
 The lute still trembling underneath thy nail. 
 
 At thy well-sharpened thumb from shore to shore 45 
 
 The treble squeaks for fear, the basses roar; 
 
 About thy boat the little fishes throng, 
 
 As at the morning toast that floats along. 
 
 Sometimes, as prince of thy harmonious band, 
 
 Thou weildst thy papers in thy threshing hand 50 
 
 ted," "Lmdsey Wolsey.'"' and •' Kersevmere " are said to be so called 
 from East Anglian villages noted for their woollen prodnciions : see 
 Taylor sTTo/'6?<^ «^^'V Place's. For the term Onigget, " it is said that drug- 
 get or droget was first made at Droirheda in Ireland." 
 
 35. TVarbliiig ; See Hymn Xaf. 96. 
 liUte : See Odt for ^7. CtcUia's Bay, 3G. 
 
 AVliiloni: Scotch '• quhylum." Tiiis is an old dat. case : so 
 "seldom.** With the help of the prep, was formed from the same stem 
 the adverb **unwhile,'" Scotch "unquhile; " see Piers Ploughtnan, Ed. 
 Skeat, V. 345. 
 
 36. See IntrGdudiov. 
 
 39. [What other meaning has tvell-tim'd ?] 
 
 Barge — pleasure boat. In a " barsre " Cleopatra sailed down the 
 Cydniis ; see Antony and Cleopatra, II. ii. 196. 
 
 4-2. That is, ** such a scene was never depicted even in one of yonr 
 own nonj^ensical plays." Shad well had written a play called Epsom 
 Wtlls. The virtue of the springs at Epsom was discovered in IGL^. 
 
 45. \Well-sliafpeiiect ttiiimb: As if ihimib was a sword inflict- 
 ing cruel cuts ou the trebles and the basses. Shadwell is the hadtr of 
 the hand. 
 
 [Why do nail and thumb make the description ludicrous ''] 
 
 49. As they might be supposed to have thronged around Anon ; but in 
 fact fishes, except seals, are saidto be insensible to the charms of music. 
 
 No doubt one gi-eat amusement of leisurely voyagers up and down 
 the Thames in the days of pleasure barges would be throwing over 
 pieces of bread and toast and watching the eager contentious pur- 
 suit of the litile fishes. Or. more prob;ibly. this passasre refers to frag- 
 ments of the morning toast which, thrown out for the benefit of the 
 swans {a great number of these were kept on the river in the old days), 
 became objects of desire and pursuit to the fi<hes. 
 
 50. Tliy 111 resiling liaiid: /. f. the hand which you move as if 
 you were threshing = with which you beat time. His roll of "papers " 
 sen ed hira as a baton. 
 
18 MAC FLECXXOE. 
 
 St. Andre's feet ne'er kept more equal time. 
 
 Not cv'n the feet of thy own * Psyche's ' rhyme, 
 
 Thougli they in number as in sense excell ; 
 
 So just, so like tautology, they fell 
 
 That, pale with envj, Singleton forswore 55 
 
 The lute and s-word which he in triumph bore. 
 
 And vowed he ne'er would act Vilerius more." 
 
 Here stopped the good old syre, and wept for joy. 
 
 In silent raptures of the hopefull lx)y. 
 
 AU arguments, but most his plays perswade . 60 
 
 Tliat for anointed dulness he was made. 
 
 Close to the walls which fair Augusta bind, 
 (The fair Augusta much to fears inclin'd,) 
 An ancient fabrick rais'd to inform the sight 
 There stood of yore, and Barbican it hight ; 6o 
 
 51. St. Andre was a well-known French dancing-master of the day. 
 
 52. Psyche : See IntroilucUon. 
 
 zA. [What is nn ant by ttiey ? and what by saying they J\ll like tauio- 
 looy?] 
 
 55. $in§^letoii is said lo have been leader of the Kini^'s private band. 
 Pepys mentions how once, in 1660. the king "did put a great affront 
 upon his music, bidding them stop and make the French music play." 
 He was also an actor, as the present passage shows. VUlet^us is a pti'- 
 «>//ainSirW. D Avcnant's Skge of BhcnTts. With reu'ard to the lute 
 and sicordj^see the Fifth Act of The Rehear^a/, where that play is 
 parodied. The stage direction runs : ** Enter at several doors the Gen- 
 eral and Lieutenant-General arm'd Cap-a-pea. with each of them a lute 
 in liis hand and his swoi-d dmwn. and luing with a scarlet ribbon at his 
 wrist." Villerius' part required both military valor and muticaJ skiJl ; 
 hence his double equipment. 
 
 62. Augusta: As it was the fashion to speak of Charles the Second as 
 Ctesar isee Dryden's lines To hi^ Sacred Majesty "> and as Augustus (see, 
 e.g.. his Thnnodia Align stalls), the capital city of his kingdom came to bo 
 called by the affected name of Augusta. It was. m fact, an old name re- 
 vived. Augusta was a common title in the Roman Empire for cilie- 
 founded orsp<'cially patronized by the first of The Emperors : thus there 
 were Augusta Raiiracoruin (the modem Aust>, Augusta Treviroruni 
 (now Treves), Auirusta Eminta tnow Merida^ Ausrusta Pnetoria (Aosta^. 
 Aususia Taurii.onim (Turin», etc. Aramianus .Marcellinus infoims us 
 thai London enjoyed this title. He speaks of '* Lundinium, an old town 
 to which posterity <?ave the title of Augusta." 
 
 Tbc MTalls ivliicli. etc.: The old line of the walls may be traced 
 bv the gates whose position is still recorded in certain street names, a- 
 llwd-gate, yew-gate, Cripple-<7^^/€. etc. Just south of the church of St. 
 Giles', Cripplegate, near the "street called London Wally a considerable 
 piece of them vet stands. 
 
 63. The strange vicissitudes of the Civil War time, the Plagae, the 
 Fire, the suspected instability of the Government, had made London 
 nenous — hysterical, so to si)oak. Hence its wild readiness to believe in 
 Popish plot's, etc. See history of Charles IL's reign. 
 
 65. Barbican : * It wis generally a sma'l round tower for the sta- 
 tion of an advance guard placed just before the outwanl gate of the cas- 
 tle-yard or ballium." *' Chaucer useth the woiti for a watch-lower 
 
MAC FLECK^^OE. 19 
 
 A watch-tower once, but now, so fate ordains. 
 
 Of all the pile an empty name remains. 
 
 Near it a Nursery erects its head, 
 
 Where queens are formed and future heros bred, 
 
 Where unfledged actors learn to laugh and cry, 70 
 
 And little Maximins the gods defy. 
 
 Great Fletcher never treads in buskins here, 
 
 Nor greater Jonson dares in socks appear; 
 
 But gentle Simkin just reception finds 
 
 Amidst this monument of vanisht minds ; 75 
 
 Pure clinches the subui'bian muse affords 
 
 And Panton waging harmless war with words. 
 
 Here Flecknoe, as a place to fame well known, 
 
 Ambitiously designed his ShadweiFs throne. 
 
 For ancient Decker prophesi'd long since 80 
 
 That in this pile should reign a mighty prince, 
 
 Born for a scourge of wit and flaye of sense, 
 
 which, in our Saxon tongue was c-dWed a bnrgh-ke/niing."' (Cotgxave.) 
 For the derivation and first meaning of the word see \Vedg^vood*s Bicf. 
 Eiiq. Efym.. according to which barbican and balcony are both but vari- 
 ous forms of a combination of two Persian words, meaning an upper 
 chamber. 
 
 Higlit=was called. Sometimes it has a present sense, sometimes 
 it is a participle. Spenser uses it frequently in all these ways. 
 
 68. A nursery: a place where youtliful would-be actors, and 
 perhaps would-be play-wrights, made 'their first attempts, and so the 
 headquarters of inferior "theatrical art. 
 
 71. Maximins : Maximin was the god-defiant hero of Dryden's Ty- 
 rannic Lore^ 
 
 72. Fletcher seems to have been in Charles II. 's reign more popular 
 than Shakspere. In his own day he was placed very near him. His 
 name may be said to stand as for Beaumont and Fletcher. In the plays 
 written durin,^ Beaumont's life it appears almost impossible to separate 
 his work from that of his colleague, and in those vvliicli came after 
 Beaumont's death (Beaumont died In 1(516, Fletcher in 16'25^ there are 
 probably posthumous ])arts. 
 
 74. Uentle Sinipkiit was a cobbler in an interlude of the da v. 
 Shoemaking was especially styled -'the gentle craft." 
 
 75. Vanislied niinds=of intellects departed, of idiotcv. Comp. 
 Tennyson's. 
 
 '' O for the touch of a vaidsh'd hand : " 
 and " a vanished life," in In Mem. 
 
 76. Clinches: In Taylor's Wit and Mirih ''clinch" is used for a 
 clencher. "an unanswenible reply."' (Halliwell and Wright's Nares' 
 Glp<s.) It was used also for a witty saying, a repartee. (HalliwelPs 
 Diet.) Johnson defines it "a word used iri a double meaning, a pun, 
 an ambigui'y.'' 
 
 Suburbian : So '"robustious" in Sam. Agon.. 569; "Mon- 
 strous,"" Faerie Queene, II. xii. 85. 
 
 77. Panton is said to have been a noted punster of the day. 
 
 80. Decker : Thomas Decker was one of the great Elizabethan 
 
20 MAC FLECKKOE. 
 
 To whom true dulness should some " Psyches " owe, 
 
 But worlds of '• Misers " from his pen should flow ; 
 
 *' Humorists" and Hypocrites it should produce, 85 
 
 Whole Raymond families and tribes of Bruce. 
 
 Now empress Fame had publisht the renown 
 
 Of Shadwell's coronation through the town. 
 
 Rows'd by report of fame, the nations meet 
 
 From near Bunhill and distant Watling-street. 90 
 
 No Persian carpets spread th' imperial w^ay, 
 
 But scattered limbs of mangled poets lay; 
 
 Much Heywood, Shirley, Ogleby there lay. 
 
 But loads of Shad well almost ehoakt the way. 
 
 Bilkt stationers for yeomen stood prepar'd 95 
 
 And Herringman was captain of the guard. 
 
 The hoary prince in majesty appear'd, 
 
 High on a throne of his own laboui-s rear'd. 
 
 dramatists. Jonson is supposed to have satirized him in his Poetaster^ 
 a compliment which he returned in iiis Satiromastix. Dryden intro- 
 duces him here because he was a " City poet." Dryden seems scarcely to 
 have estimated him at his proper worth. There is a singularly musical 
 and otherwise exquisite song by him. 
 
 '• Art thou poor, but hast thou golden slumbers," 
 
 qnoted in the Golden Treasary. 
 8:3 Psyche : The Miser— T?ie IluinoHsts.^ve plays by Shadwell. 
 86. Kiiyiuoiid is one of the characters in the Hianorists^ '• a gentle- 
 man of wit and honour." 
 
 Bruce is a character in llie Virtuoso, "a gentleman of wit 
 and sen^e." 
 90. HwuliiW—WaHing-street. See map of London. 
 93 4>gleby: at firsi a dancinu-master. translated the Iliad, the 
 Odijssey '<iX\(il\\Q yEneiiL besides produc n^ some oriiiiiial poeiry, and 
 writing a History of C/iina. Sec D>tn<i<idA- 141 and 3*28. 
 9.5. Bilkt : who had been defrauded of their due payments. 
 
 Stationers = booksellers. Tins was the orii:ii'al force of the 
 word, and was still its force iu Dryden's time. See Trench's ^el. Glass.; 
 Diuuiad, ii. :30. 
 
 Yeomen : " He instituted for the security of his person a band 
 of fifty archers under a captain to attend him. by the name of yeomen 
 ofhis 2uard." (Bacon's ^6// /y VII.) This woid' is variously connected 
 with Yn^. gaeman. a village: A. S. r/ejnane, common; A.-S. yeonge^ 
 A.-S. gfongra. a vassal : fancifully with yir. 
 
 96. iMerrin^niaii was a well-known publisher of Charles TI.'s 
 reiirn. Dryden in the earlier part of his career, had been connected 
 with him. He was the *' bookseller '' meant by Shadwell in his Medal of 
 John Bayes: 
 
 '• He turned a journeyman to a bookseller. 
 Writ prefaces to books for meat and drink. 
 And as he ])jiid he would both write and think." 
 
 98. Throne: " state '' in the first edition. " The state was a raised 
 platform, on which was placed a chair with a canopy over it." 
 
MAC FLECKXOE. 21 
 
 At his right hand our yoimg Ascanius sat, 
 
 Rome's other hope and pillar of the state. 100 
 
 His brows thick fogs instead of glories grace, 
 
 And lambent dulness plaied around his face. 
 
 As Hanniball did to the altars come. 
 
 Sworn by his svre a mortal foe to Rome : 
 
 So Shadwell swore, nor should his tow be vain, 105 
 
 That he till death true dulness would maintain. 
 
 And, in his father's right and realms defence, 
 
 Ne'er to haA^e peace with wit or truce with sense. 
 
 The king himself the sacred unction made, 
 
 As king by ofl&ce and as priest by trade. 110 
 
 In his sinister hand, instead of ball. 
 
 He plac'd a mighty mug of potent ale ; 
 
 " Love's Kingdom " to his right he did convey, 
 
 At once his sceptre and his rule of sway ; 
 
 Whose righteous lore the prince had practis'd young 115 
 
 And from whose loyns recorded •' Pscyhe " sprung. 
 
 His temples, last, with poppies were o'erspread, 
 
 That nodding seemed to consecrate his head. 
 
 Just at that point of time, if fame not lye, 
 
 On his left hand twelve reverend owls did fly. 120 
 
 So Romulus, 'tis sung, by Tyber's brook, 
 
 Presage of sway from twice six vultures took. 
 
 99. Ascanins: See ^-Eneid, passim. Dryclen did not produce his 
 translation of Vir^irs o:reatpoem till some fifteen years after the cominij 
 ont of Mac Flecknoe. but he was already thoroughly familiar with it, a^. 
 Indeed, all his ase was. 
 
 100. Rome's'otlier hope = spes altera Eomae {^n. xii. 168). 
 
 101. Glories: See Keats" Eve of St. Agnes. 
 
 103. See Class. Diet, and Hut. Roine. 
 
 104. [t^'hat does .nvorn mean here ?] 
 
 107. [What is meant by his ya///^r\v ?V(7^^^?'] 
 
 108. [What is^the government of to have, etc.?] 
 lOi). I^I a de = performed. 
 
 111. Ball : '• Hear the tragedy of a young man that by right ought to 
 hold the /xdi of a kingdom : but by foriune has made himself a ball, 
 tossed from misery to misery, from'place to place. ' 
 
 113. Love's Kiii»:doni : a play by Flecknoe. Derrick says he 
 wrote four plays, but '' could get only one of them acted, and that was 
 damned *' 
 
 Convey is used here in its technical sense. ''The Earl of Des- 
 mond, before his breaking forth into rebellion conveyed secretly all his 
 lands to feoffees in trust."' 
 
 IIH. Recorded = above mentioned: or rather = sung, for Psyche 
 was an opera. •• Record" to sing ; applied particularly to the singing of 
 birds. A recorder was a flageolet. 
 
22 MAC FLECKNOE. 
 
 The admiring throng loud acclamations make, 
 
 And omens of his future empire take. 
 
 The syre then shook the honours of his head, 125 
 
 And irom his brows damps of oblivion shed 
 
 Full on the filial dulness ; long he stood, 
 
 Eepelling from his breast the raging God ; 
 
 At length burst out in this prophetic mood : 
 
 '-Heavens bless my son ! from Ireland let him reign 130 
 To far Barbadoes on the western main ; 
 Of his dominion may no end be known 
 And greater than his father's be his throne ; 
 Beyond ' Love's Kingdom ' let him stretch his pen ! " 
 He paus'd, and all the people cried " Amen." 135 
 
 Then thus continued he : ''My son, advance 
 Still in new impudence, new ignorance. 
 Success let others teach, learn thou from me 
 Pangs, without birth and fruitless industry. 
 Let * Virtuoso's ' in five years be writ, 140 
 
 Yet not one thought accuse thy toil of wit. 
 Let gentle George in triumph tread the stage, 
 Make Dorimant betray, and Loveit rage : 
 Let Cully, Cockwood, Fopling, charm the pit. 
 And in their folly show the writers' wit. 145 
 
 Yet still thy fools shall stand in thy defence, 
 And justify their author's want of sense. 
 Let 'em be all by thy own model made 
 Of dulness, and desire no foreign aid, 
 
 That they to future ages may be known, 150 
 
 Not copies, drawn, but issue of thy own. 
 
 126. [What 19 meant by datnp sof oblivion f] 
 
 127. [What is the force of full here Vj 
 
 128. Tlie filial dulness: Comp. Horace's " mitis sapienlia La»li," 
 etc. 
 
 135. [What are the ludicrous points of this line ?] 
 
 136. Comp. ^€n. vi. 95. 
 
 138. He is parody iuL^ ^En. xii. 4:35. 
 
 140- " While Dryden accuses Shad well of slowness in composition. 
 Rochester attributes his faults to haste." 
 
 142. George = Sir Georsjc Etheredo^e, a man of fashion, a diploma- 
 tist, a poet, a comedy writer. He died at Ratisbon, where he was Minis- 
 ter Resident, in 1694. 
 
 143. OoriniAiit, Loveit, etc., are characters in Etheredge's plays, 
 The Man of the Mode, and Lore in a Txb. 
 
MAC PLECKNOE. 23 
 
 'RsLj let thy men of wit too be the same, 
 
 All full of thee and differing but in name. 
 
 But let no alien Sedley interpose 
 
 To lard with wit thy hungry Epsom prose. 155 
 
 And when false flowers of rhetoric thou wouldst cull, 
 
 Tinist nature, do not labour to be dull ; 
 
 But write thy best and top ; and in each line 
 
 Sir Format's oratory will be thine. 
 
 Sir Formal, though unfought, attends thy quill 160 
 
 And does thy northern dedications fill. 
 
 Xor let false friends seduce thy name to fame 
 
 By arrogating Jonson's hostile name ; 
 
 Let father Flecknoe fire thy mind with praise 
 
 And uncle Ogleby thy exivj raise. 165 
 
 Thou art my blood, where Jonson has no part • 
 
 What share have we in nature or in art ? 
 
 Where did his wit on learning fix a brand 
 
 And rail at arts he did not understand ? 
 
 ^Vhen made he love in Prince Nicander's vein 170 
 
 Or swept the dust in Psyche's humble strain ? 
 
 Where did his muse from Fletcher scenes purloin, 
 
 As thou whole Etheridge dost transfuse to thine ? 
 
 But so transfused as oil on waters flow, 
 
 His always floats above, thine sinks below. 175 
 
 This is thy province, this thy wondrous way, 
 
 New humours to invent for each new play : 
 
 This is that boasted byas of thy mind, 
 
 By ^vhicll one way to dulness 'tis inclined, 
 
 154. Sedley : Sir Charles Sedley was or.c of the wits, the poets and 
 the dramatists that sparkled in the court of Charles II. 
 
 155. Hungry = lean, " scrannel." See Milton's Lycidas, 125. 
 Gpsoni prose refers to Shadwell's Ep-^om Wells. 
 
 150. Sir Formal Trifle is a verbose, oratorical person in Shadwell's 
 Yirtvo.'io. 
 
 161. '• By the northern dedicaiions are meant Shadwell's frequent dedi- 
 cations to the Duke of Newcastle ; he dedicated also to the Duchess, 
 and to their son, the Earl of Ogle." 
 
 163. See Introduci. 
 
 170. IVicaiider is a character in Pi^yche. 
 
 174. Observe the rhyme between purloin and thine. So join was 
 sounded j^/^^, etc. Noise rhvmes with crie-^ in Dunciad, ii. 221-2. 
 
 178. Byas : See Shakspere, Richard II. III. Iv. 5 ; Hamlet, II. i. 
 65. 
 
'24: MAC FLECKXOE. 
 
 Which makes thy writings lean on one side still, 180 
 
 And, in all changes that way bends thy will. 
 
 Xor let thy mountain belly make pretence 
 
 Of likeness ; thine's a tympany of sense. 
 
 A tun of man in thy large bulk is writ, 
 
 But sure thou'rt but a kilderkin of wit. 185 
 
 Like mine, thy gentle numbers feebly creep ; 
 
 Thy tragic Muse gives smiles, thy comic sleep. 
 
 With whate'er gall thou sett'st thyself to write, 
 
 Thy inoffensive satyrs never bite ; 
 
 In thy felonious heart though venom lies, 190 
 
 It does not touch thy Irish pen, and dyes. 
 
 Thy genius calls thee not to purchase fame 
 
 In keen lambicks, but mild Anagram. 
 
 Leave writing plays, and choose for thy command 
 
 Some peacefull province in Acrostick land. 195 
 
 There thou may'st wings display and altars raise, 
 
 And torture one poor word ten thousand ways ; 
 
 Or, if thou would'st thy diff'rent talents suit, 
 
 Set thy own songs, and sing them to thy lute." 
 
 He said, but his last words were scarcely heard, 200 
 
 1S:3. Tympany: i. e.. no healthy normal ^owlh. bin adropsical ex- 
 pan^ion. The meanino: i- exactly illnstrated by what Macaulay s<iys of 
 Dryden's own plays in his Essay on Dnden : *' The swc-llinor d'iclion of 
 ^Eschylus and Isaiah resembles'ihat of Amianzor anM Maximin no more 
 than the tumidity of a muscle rt>embles the lumidityof aboil. Tiie 
 former is symptomatic of health and strength, the latter of debility and 
 disease." 
 
 191. rwhat does (fyt^ mean here ?] 
 
 19:5. Keen laiiibickt^: that is. satirical poetry such as Archilochiis 
 wrote * proprio i.imlx)." •'Hence also the Iambic verse is now so 
 called, becau-c in this metre they nsed to Jambizt [i. e. satirize] each 
 other.*' 
 
 ITlild ^ lias; ram : See Spec/. Nos. 58 and 60. where these line^ 
 are qr.oied, ;>nd chronoirrams and ^'bout^ r^imt^z" nrc al>o di^^:ussed ; 
 but anairrams and acrostics were much older than Addison supposed. 
 Sec also Disraeli's C'nia<iiie^ of Literature, on " Literary Follies : "— 
 '• 1 shall not dwell on the wits' who composed versus iii the form of 
 hearts, winj^s, altars. Jind true-love knots : or, as Ben Jouson describes 
 their grotc:sque shapes, 
 
 * A pair of scissors and a comb in verse.' 
 
 Tom Nash, who l^v.-d to push the ludicrous to its extreme, in his amus- 
 iuLT invt dive atniinst the classical (iabrit-l Harvey, tells us th; t ' he lia<l 
 writ verses in all kinds : in form of a pair of gloves, a pair of j- jxHrtncles, 
 and a pair of pol-hooks,' " etc. 
 
3IAC fleck:s^oe. ^5 
 
 For Bruce and Longville had a trap prepared. 
 
 And down they sent the yet declaiming bard. 
 
 Sinking he left his drugget robe behind, 
 
 Borne upwards by a subterranean wind. 
 
 The mantel fell to the young prophet's part, 205 
 
 With double portion of his father's art. 
 
 32. 201. Bruce and Lonor^'iHe, in the Virtuoso, make Sir Formal Trifle 
 disappear throngh a trap-door in the midst of his speechifying. 
 
 3 
 
A SOA^G FOR ST. CECILIA'S DAY. 
 
 Introductory Note. This sonj? was .written for the festival of St. 
 Cecilia, 1687. The celebration of that festival by lovers of music was 
 commenced (or revived, if, as is probable, it was kept in some sort be- 
 fore the Keformatiou) in 1683, in which .year Pnrcell " set '^ the song that 
 was written foi- the occasion. lnl6S4 Oldham wrote the anniversary song, 
 in 1685, Nahuni Tate; in the following year the festival was nor, ob- 
 served ; in 1687 Dryden wrote the song given in the text. He wrote 
 another, his Alexander's Feast, ten years afterward. Pope wrote in 1708. 
 
 It is not clear how St. Cecilia came to be regarded as the patron saint 
 of music. In her legend, as told in the Leqenda Aurea (written toward 
 the close of the thirteenth century), almost literally translated by Chau- 
 cer in his SecO'rnde Noimes Tale, she is not so spoken of. All that is said 
 thereof music is that " Cantanibusorganis ilia in corde siio soliDomino 
 cantabat,'' etc.; or in Chaucer's words, 12,062-5, ed. Wright ; 
 
 " And whil the organs made melodie, 
 To God aloon in hcrte thus sang sche : 
 ' O Lord, my soul, and eek my body gye 
 Unwemmed, lest that I confounded be.' " 
 
 Of course, however, the Latin words might be translated, 'while her 
 organs were sounding ;" that is, " while she was phiying.'" Thelegend 
 
 foes on to say, that this " mayden bright Cecilie" was under the imme- 
 iate and present protection of an angel. In this passage of her story 
 may, perhaps, be seen the beginning of the tradition referred to in 
 Alexander's Feast, and so exquisitely painted by Raphael and other?:, 
 that "'she drew an angel down; "but in the old story, not her sweet 
 playing, but her spotless })aiity, brought the angel near her, not to lis- 
 ten, but to be a '• heavenly guard." He is seen by her husband, too, 
 when he becomes a Christian : 
 
 " Valirian goth home and fint Cecilie 
 Withinne his chambre with an aiingel stoudc 
 This auiigel had of roses and of lilie 
 Corounes tuo, the which he bar in honde ; 
 And first to Cecilie as I understonde. 
 He gaf that oon, and after can he take 
 That other to Valirian hir make." 
 
 She and he are said to have suffered martyrdom in the year 220. All, 
 then, that the legend certainly shows to the purpose is, that St. Cecilia 
 was one over whom music had great influence— that it Inspired in iier 
 high religious emotion. It may show, further, that she was herself a skil- 
 ful musician. The fame of her deep passion for sacred music, and i)os- 
 sibly of her skill in it, might well, at a later time, give countenance, if it 
 did not give rise, to the tradition that she invented the grand instrument 
 of church music. 
 
 As for this said instrument, its early history is obscure. " Some de- 
 rive its origin from the bagpipe ; others, with more probability, from an 
 instrument of the Grec^ks, though a very imperfect one— the water 
 organ— as it is known that the first organs used m Italy came thither 
 from the Greek empire. It is said that Pope Vitellanus (died 071) 
 caused organs to be set up in some Roman churches in the seventh cent- 
 ury. Organs were at first portable. The organs now in use are con-id- 
 
 26 
 
A SOIS^G FOR ST. CECILIA'S DAY. 27 
 
 ered an invention of the Germans, but respecting the time of this inven- 
 tion, opinions differ. ... It is certain that the use of organs was not 
 common before the fourteenth century/' [Pop. Cijcl.) That the name is 
 Greek is a strong confirmation of its Greelv origin. "The only incident 
 of religious history." runs a paragiaph in C\\iin\bQY^' Bookof Days {\. 
 495), "connected with the 10th of April that is noticed in a French worli 
 resembling tlie present, is the introduction by King Pepin, of France, 
 of an organ into tlie Church of St. Corneille, at Compiegne, in the year 
 787." 
 
 I. 
 
 From harmony, from heav'nly harmony 
 
 This universal frame began. 
 When Nature underneath a heap 
 
 Of jarring atoms lay, 
 And cou'd not heave her head, 5 
 
 The tuneful voice was heard from high : 
 
 Arise, ye more than dead. 
 Then cold and hot and moist and dry 
 - In order to their stations leap, 
 
 And Musick's pow'r obey. 10 
 
 From harmony, from heav'nly harmony 
 
 This universal frame began ; 
 
 From harmony to harmony 
 Through all the compass of the notes it ran, 
 The diapason closing full in Man. 15 
 
 1. This was an opinion said to have been held by Pythagoras : " We 
 find running through the entire Pythagorean system Ihe idea that order 
 or harmony of relation is the regulating jmnciple of the whole universe." 
 (Smith's \diVgQv Biog. Myth. Diet.) It was not only "the regulating," 
 but in the first instance the creative principle ; it brought into union 
 opposing elements, " jarring atoms." The music of the spheres was a 
 Pythagorean notion. See Milton's Hymn Nat. 125. 
 
 I What does heavenly mean here ?1 
 
 2. Frame: This was a favorite word with poets about the close of 
 the seventeenth century. See " vocal /?'rt??i{^," in Alexander's Feast: 
 " a shining frame "in Addison's 
 
 "The spacious firmament on high," etc. 
 
 Began from, etc.: See Alexander's Feast^ 25 : 
 
 " The song began from Jove." 
 
 5. Heave tier head : See Milton's iM//ff7?'0, 145. Miltonic words 
 and phrases are rery common in Dryden's writings. Pope, too, has this 
 phrase, Dtinciad, ii. 256 : 
 
 " Rous'd by the light, old Dulness Jieav'd the head.'' 
 
 6. [What is the force of The here ?] 
 Voice = words uttered by the voice. 
 
 8. See Paradise Lost, ii. 898. 
 
 14. The notes ; i. e. of the first seven notes of the octave, 
 
 15. Tlie diapason : " Diapason denotes a chord which includes all 
 
28 A sojsTt for ST. Cecilia's day. 
 
 II. 
 
 What passion cannot Musick raise and quell ? 
 When Jubal struck the corded shell. 
 His list'ning brethren stood around, 
 And, wond'ring, on their faces fell 
 To worship that celestial sound ; 20 
 
 Less than a god they thought there cou'd not dwell 
 Within the hollow of that shell. 
 That spoke so sweetly, and so well. 
 What passion cannot Music raise and quell ? 
 
 III. 
 The trumpet's loud clangor 25 
 
 Excites us to arms 
 With shrill notes of ang'er 
 
 And mortal alarms. 
 
 x)nes ; it is the same with what we call an eighth or an octave ; because 
 there are but vseven tones or notes, and then the eighth is the same again 
 with the first.'" See Milton's At a Solemn. Mf/sic, where he would ihat 
 we on earth should " answer " the melodies of heaven, 
 
 " A^ once we did. till disproporlionM sin 
 Jarr'd against Nature's chime, and with harsh din 
 Broke the fair music that all creatures made 
 To their great lord, whose love their motion swayed 
 In perfect dia2)aso/t,'' etc. 
 Closing : See Hi/mn Nat. 100. So Herbert : 
 
 " Sweet sprinir, full of sweet days and roses ; 
 A box where sweets compacted lie. 
 My music shows j'ou have your cio.->es, 
 And all must die."" 
 
 16. Collins, in the beginning of his Ode describes how, when Music 
 was yet young, 
 
 " The Passions oft, to hear her shell, 
 Throng'd around her magic cell, 
 Exulting, trembling, raging, fainting," etc. 
 
 till at last each one determined to try his own skill. Comp, Midsunimer 
 NighCs Dream, II. i. 150, the well-known line, 
 
 " Music hath charms to soothe a savage breast." 
 
 Q,uell is strictly but the older form of kill. 
 
 17. Jubal : ^G(i Genesis, iv. 21. 
 
 Shell : This somewhat aflfected name for a Ivre found great favor 
 with our poets from Dryden till the close of the last century. It is of 
 course a Classicism. 
 
 The cliorded shell: See Homer's (so assigned) Hymn to 
 Mercvrij, '.2.5-65. 
 
 28. [What does inorial mean here ?] See Trench's Select Olossa?i/, s.v. % 
 Comp. : 
 
 " Come, thou 7/iortal wretch." 
 (Antonfj a'/d C'eojmtra, V. i. 63.) 
 
A SOXG von ST. CECILIA'S DAY. 29 
 
 The double double double beat 
 
 Of the thundering drum BO 
 
 Cries, heark : the foes come I 
 Charge, charge, 'tis too late to retreat 1 
 
 IV. 
 
 The soft complaining flute 
 In dying notes discovers 
 
 The woes of hopeless lovers, 35 
 
 Whose dirge is whisper'd by the warbling lute. 
 
 Sharp violins proclaim 
 Their jealous pangs and desperation. 
 Fury, frantick indignation. 
 Depth of pains and height of passion, 40 
 
 For the fair, disdainful dame. 
 
 VI. 
 
 But oh ! what art can teach, 
 What human voice can reach 
 The sacred organ's praise ? 
 
 33. Chaucer says of his Squire : 
 
 " SjTigjTige he \yas ox Jlcnvtynge all the' day.*" 
 
 The " floyte " is mentioned in the House of Fame. 
 
 34. [What does dying mean ?] Comp. Twelfth Xig/if, I. i. 4. 
 Discovers = simply uncovers. See Meix-hatit of Venice^ II. vii. 1: 
 
 " Go draw aside the curtain, and discover 
 The several caskets to this noble prince." 
 
 Comp. disrobe, c^i.^people, ^Zi^mantle, etc. [lu what sense do we use the 
 word discover ?] 
 
 35. [How does the sense oi hopeless here differ from that in Shaksperc's 
 Bichard II. I. iii. 152, " the hopeless word of ' never to return ' " 't 
 
 36. " The lute was once the mos^t popular instrument in Europe, al- 
 though now rarely to be seen except represented in old pictun-s. ... It 
 has been superseded by the guitar," etc. 
 
 Pope follows Dry den in his 
 
 '' In a sadly pleasing strain 
 Let the warbling lute complain." 
 _3?. Violins : Violin (= violino^ is a dim. of viol, as violoncello of 
 violin. The violin cnmpletelv replaced the viol in the reign of Charles 
 II. See Cliappell's Pop. Mxi. ii. 467-9. 
 41. Dame : Comp. Milton's Paradise Lost, ix. 612 : 
 '' Sovran of creatures, universal dame."" 
 So often in Shakspere. 
 44. Organs : See Milton's Paradise Lost, i. 708, vii. 596 ; Shakspere's 
 
30 A SOXG FOR ST. CECILIA'S DAY. 
 
 Notes inspiring holy love, 45 
 
 Notes that wing their heav'nlv ways 
 
 To mend the choires above. 
 
 vn. 
 
 Oi-pheus cou'd lead the savage race. 
 And trees unrooted left their place, 
 
 Sequacious of the lyre ; 50 
 
 But bright Cecilia rais'd the wonder high'r : 
 ^yhen to her organ vocal breath was giv'n ; 
 An angel heard, and straight appear'd. 
 
 Mistaking earth for heav'n. 
 
 GRAND CHORUS. 
 
 As from the pow'r of sacred lays 55 
 
 The spheres began to move, 
 And sung the great Creator's praise 
 
 To all the bless'd above : 
 So, when the last and dreadful hour 
 This crumbling pageant shall devour, 60 
 
 The trumpet shall be heard on high, 
 The dead shall live, the living die. 
 And Musick shall untune the sky. 
 
 Tempe<f,lU. 9S. ''the thunder — that deep and dreadful o/'^rt/i-/;^";^." 
 The older English poets generally speak of organs, or a pair {= set of 
 organs : that Ts, the word organ denotes but a^sirgle pipe. Thus San- 
 dys : 
 
 ** Praise with timbrels, orqan-'i^ flutes ; 
 Praise with violins and lutes/' 
 
 33. 47. The audacity of this line may be regarded as a sijm of the 
 times, which were not reverent nor hunible-minded. See Dryden's Ode 
 to the .Vtmonj of Ml s. Anne Killegrtw. 
 
 IS. Orpheus : See Shakspere's Two Gentleitien cf Verona, III. ii. 
 78-81 ; Il^nnj VIII. HI. i. 8., etc. 
 
 50. Keqnacious: Comp. Sid. Cartn. xvi. 3: " Qme [cheylys] saxa. 
 seq'incia li"Ctens." Comp. Ovid's '' saxa sequtntia,"" Met. xi. 2. 
 
 5-2. [What is meant bv vocal brtoih ?] 
 
 M. Comp. Afex. Feast, 170. 
 Str'ais^ht : See U AUegro, 69. 
 
 55 See note on 1. 1. 
 
 60. Comp. Shakspere's Tanpest. IV. i 15-16. 
 
 63. Uutune = destroy the harmony, i. e. the vivifying principle, of. 
 
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